Es Kommt der Neue Fotograf! [Here Comes the New Photographer!] is one of the key documents of the New Vision Photography in Germany. Published at the time of the famous Stuttgart "Film und Foto" exhibition of 1929. "Importantly, the exhibition attracted leading modernist photographers not just from Europe but from the United States (Edward Weston, for instance) and Russia (El Lissitsky and Rodchenko). It included amateur work, commercial and utilitarian photography, and provided an almost indispensible survey of the New Vision in photography." Both Es kommt der neue Fotograph and Foto-Auge "adopt similar picture-essay formats to run through the various genres and stylistic features on New Vision photography. Werner Gräff’s volume, however, has as much of a practical as a theoretical slant. It can be considered as a 'how-to' compendium of the new photography, and is divided into sections, each several pages long, showing either formal strategies like tilting the frame or repeating similar elements, close-ups and so on, or genres such as photograms, montage, advertising and magazine photography"--Parr & Badger The Photobook: A History, pp. 98-99.

Hans Richter's Filmgegner von heute. Filmfreunde von morgen is a companion volume to Es Kommt der Neue Fotograf!; Werner Graff also had a hand in its production. The text by Richter deals with Dada, Surrealism in film, and the emerging avant-garde.
"Berlin-born Hans Richter - Dadaist, painter, film theorist and filmmaker - was for four decades one of the most influential members of the cinematic avant-garde. Richter assembled some of the century's liveliest artists as co-creators of Dreams That Money Can Buy, his most ambitious attempt to bring the work of the European avant-garde to a wider cinema audience. Among its admirers is film director David Lynch."--British Film Institute